INTERNATIONAL HARVESTER – Remains (Silence, 2018; rec. 1968-1969)

  
Instrumental, English vocals, Swedish vocals
International relevance: ***

The batch review of the albums by the various incarnations of Träd, Gräs Och Stenar's is apparently one of my most 'controversial' blog entries as I don't share the automatic reverence for the band. I don't submit to any unreflected worship of sacred cows, and TG&S are the most sacred of them all, but I still think most of what they did was simplistic and inept for its own sake. There are flashes of brilliance, especially during their earliest Pärson Sound days, but not enough to justify their general status as sanctified untouchables.

Of course there's been a number of archival TG&S releases, most of them simply confirming what their original albums already told us. Again, the most striking exception is Subliminal Sounds' 2CD assemblage of 1967-68 recordings showing that the band actually could extract some real energy out of their drones if they wanted to, not only squelch through sleepy one-chord lethargy. And that's where the 5 LP box set ”Remains” comes into the picture. Two of the discs are original albums "Sov gott Rose-Marie" and "Hemåt" but three of them are dedicated to previously unreleased (or mostly unreleased) material, and it's those that I focus on here. 

Some of it is still just more of the same, but several of those unissued recordings are in fact much better than what ended up on their proper albums. There's some sloppy slosh here too, but pieces such as ”Cellodron” (”Cello Spear”), and ”Hemåt” (”Homeward”) – once it catches steam – are very good. As is ”Hes häst” (”Hoarse Horse”) which conjures up the spirit of Czech band Plastic People Of The Universe. 

It's hardly surprising that "Remains” is inconsistent both in terms of musical and aural quality, but the good bits are excellent and make me wonder why (International) Harvester/Träd, Gräs & Stenar just couldn't produce any album uniformly on that level instead of making a point of playing below their capacity.

Full album playlist (Spotify)

ELEKTRISKA LINDEN – Torbjörns dansskola (Avanti, 1978)

Swedish vocals

International relevance: **

A later era progg album that features a massive cast of progg eminences such as Blå Tåget's Leif Nylén and Carl-Johan de Geer, Torbjörn Abelli of Träd Gräs Och Stenar, Anders Linder (Kapten Zoom, Ville & Valle & Viktor) and Mikael Katzeff (later of the revived Gudibrallan). The Torbjörn of the title and album cover is Sweden's right wing prime minister Torbjörn Fälldin, just elected when the album came out. The rich instrumentation of violin, sax, trombone, clarinet, harmonica and string synthesizer makes for a rich timbre palette but the playing is somewhat over-enthusiastic and messy at times, as on opening track ”Uppmuntran” and ”(Äntligen) Tillbaks i stan”. ”Tystnadens kultur” is a bit similar to Anders F. Rönnblom, while ”Bränna Highway 20 med stereo på” and the title track almost sound like a slightly jazzier version of Gudibrallan if you can picture that. Unfortunately, it's a pretty dull album overall.

Elektriska Linden spin-off band Torvmossegossarna released an EP in 1979, the anti nuclear 7” ”Atomkraft? Nej tack” on their own label Skivbolaget EKO. The 45 includes a cover of Knäckebröderna's ”R.R.R.”. Stylistically similar to Elektriska Linden but with a less dry production. Elektriska Linden also had a track on Avanti's 1978 ”Samlade krafter” compilation, and one on ”Vi kan leva utan kärnkraft” on Silence in 1975.

No links found

DAG VAG – Complete albums 1979-1983

Dag Vag was one of the bands bridging the declining old and the burgeoning new. They called their music 'trans-continental rock reggae' and that explains their music pretty well. Frontman Stig Vig (real name Per-Åke Odeltorp) was previously known as Per Gud and used to hang around with Träd Gräs &Stenar (TG&S). He recorded several of their gigs and released two TG&S albums on his own Tall label, ”Djungelns lag” and ”Mors mors”. Stig Vig's first band was God's Sideburns which he founded in 1966. He was in several other bands in the early 70's including the music theatre group Blomkraft with members from Archimedes Badkar and TG&S. In 1978, he released the single ”Dimma” as Dag Vag & Svagsinta, a raw and fantastic solo DIY effort with its roots in progg but punk in attitude that eventually led to him forming a full band, keeping the name Dag Vag. In the early 00's, Stig Vig said in an interview that he wanted Dag Vag to be fun and joyful alternative to the increasingly narrow-minded politicized progg, and with consciously simple lyrics.

Dag Vag (Silence, 1979)
Swedish vocals

International relevance: **

 

Already known to Silence Records as the live engineer for Tråd, Gräs Och STenar, it was only natural that Dag Vag scored a deal with the label. The album opens with an excellent cover of ”Sanningens silverflod” from TG&S's green album, and features two more translated covers, The Fugs' ”I Couldn't Get High” (”Jag blev inte hög”) and Bob Dylan's ”Tombstone Blues” (”Snorbloos”). However, the best track on this splendid album is the original number ”Idioterna” that captures the band's 'trans-continental rock reggae' at its best.

First edition was released with clear vinyl. 

Scenbuddism (Silence, 1979)

Swedish vocals, instrumental

International relevance: **

When original guitarist Olsson left (real name Ola Backström, known from albums by Stockholm Norra, Torkel Rasmusson, Tore Berger, Lena Ekman et al), Kenny Håkansson of the recently disbanded Kebnekajse stepped in. His first vinyl appearance with the band (as Beno Zeno) was the live album ”Scenbuddism”. Covers of The Modern Lovers' ”Egyptian Reggae” and a translated ”Wild Thing”, but mostly terrific original material including the classic reggaefied version of ”Dimma” . Håkansson delivers some of his best guitar work ever but perhaps he shines brightest on 8+ minutes closing track ”Tokna & galna”.

Palsternacka (Silence, 1980)
Swedish vocals

International relevance: **

 

Still good but not as consistent as their first two albums. The lovely ”Jag har drömt” has lyrics adapted from Swedish poet Dan Andersson and collectively set to music by the band. Highlights also include ”Rulla på” and ”Lång väg”.

7 lyckliga elefanter (Silence, 1982)

Swedish vocals

International relevance: **

The weakest of their original early period albums, with too many highlife and new wave influences, including a translated version of Generation X's ”Dancing with Myself” (”Dansar med mej själv”). ”Min pappa” is however brilliant, written by Zilverzurfarn (real name Johan Zachrisson). 

Almanacka (Silence, 1983; recorded 1978-1981)

Swedish vocals

International relevance: **

Dag Vag disbanded in 1983 and released this live compilation as a farewell album, recorded between 1978 and 1981 and including a trippy version of ”Snorbloos” and a very dubby version of ”Tokna & galna”. Also Kenny Håkansson's brilliant and otherwise unavailable ”Om döden”. Features Don Cherry on several tracks. The expanded CD reissue has different cover art:

Dag Vag also released a number of non-album 45's and has a track on the ”Nej till kärnkraft” comp released in 1979, the great original version of ”Många gånger om” (re-recorded in a lesser version for ”7 lyckliga elefanter”). All stray tracks were later added to the CD reissues along with previously unreleased tracks.

The band reunited in the late 80's with several disbandings and reunions following over the years. Stig Vig died in 2012.

Dag Vag full album playlist with bonus tracks
Scenbuddhism full album playlist with bonus tracks
Palsternacka full album playlist with bonus tracks
7 lyckliga elefanter full album playlist with bonus tracks
Almanacka full album playlist with bonus tracks

VARIOUS ARTISTS – Festen på Gärdet (Silence, 1971; recorded 1970)

Featured artists: Original Homesick Band / Östan Sol, Västan Måne / Fire / Stockholms Spelmansgille / Love Explosion / Låt Tredje Örat Lyssna In & Tredje Benet Stampa Takten / 2000 Spenar / Det Europeiska Missnöjets Grunder / Turid / Samla Mammas Manna / Grönsakslandet / Solen Skiner / Charlie & Esdor / Fläsket Brinner / Gudibrallan / Brownsville Jug Band / Södra Bergens Balalaikor / Old Timey Stringband / NJA-gruppen / Handgjort / Träd, Gräs Och Stenar

Swedish vocals, English vocals, instrumental

International relevance: *** 

It's hard to imagine an album with a greater symbolic significance than the 2LP set ”Festen på Gärdet”, recorded at the second of the two festivals held at the Gärdet field in Stockholm in 1970, with Träd Gräs Och Stenar and especially Bo Anders Persson as the driving force behind them both.

Those festivals are often regarded as the starting point of the music movement. It's convenient having a fixed date of course, but as with any historical event, it was the product of a process, with one thing evolving into something else. So while the date isn't historically valid, the Gärdet festivals' importance to the music movement is unquestionable. This was the first time that several of the soon to be most important bands presented themselves to a larger audience. Most bands didn't have a record contact at the time, and some of them would never get one, such as Det Europeiska Missnöjets Grunder and Låt Tredje Örat Lyssna In & Tredje Benet Stampa Takten.

With the huge cultural impact of the festivals, it may be a bit hard to separate the actual music from the historical importance of the recordings included herein. How does ”Festen på Gärdet” actually sound if the layers of legend are peeled off and the music is judged solely on its own terms?

First of all, it's a lot more varied than one who's never heard it may think. It's not all Träd, Gräs Och Stenar, Fläsket Brinner and Samla Mammas Manna. For instance, the album suggests there was a pretty lively American old-timey music scene in Sweden during this period, here represented by The Original Homesick Band, Brownsville Jug Band and Old Timey Stringband.

Second of all, it's full of the joy of playing and pioneering spirit.

Third of all, the sound quality isn't very enjoyable.

Fourth of all, the music ranges from the unlistenable to the great. Love Explosion and NJA-gruppen/Fria Proteatern are crap as usual. Turid is more annoying than usual. Låt Tredje Örat Lyssna In... sounds like a drunk acoustic Velvet Underground. Träd, Gräs Och Stenar sound like they always do. Gudibrallan might not be featured with their finest hour but they're still as who-gives-a-shit anarchic as I want them to be. Samla Mammas Manna's in their infant stage and it's interesting hearing them this early on. Fläsket Brinner are great but their appearance (with ”Bosses låt”) unfortunately suffers a fair bit from the low fidelity. Etc.

So, all in all, the documentary value is impossible to deny, but the music often leaves a whole lot to be desired. It sure has its moments, but they are few and far between.

A radio documentary about the Gärdet Festival was broadcast in 1970 with otherwise unavailable performances and is included in "Progglådan". A 30 minute TV documentary was also made and can be seen on Youtube (part one, part two).

The album was released in two editions, the first in coloured vinyl with inner sleeves, the second in black vinyl and no innersleeves.

Fire - Nu är det sommar

Samla Mammas Manna - Tripp Harley

Fläsket Brinner - Bosses låt

VARIOUS ARTISTS – Reportage: Spela själv (Expo Norr, 1970)

Instrumental
International relevance: -

The liner notes explain it best, so here's a translation: ”Ordinary albums always feature people that are particularly good at playing, performing for other people to listen to. But this album has only people playing just for fun without thinking anyone else would listen to it. So the intention wasn't for the music to be released on an album. But for those who would have loved to participate but couldn't do it for whatever reason, it might be fun to hear what it might sound like when you meet with others and play and sing together.”

As you probably can tell, this documentary album of field recordings is very much a product of its time ('everybody can play'), but unless you'd really like to hear small children playing with their parents, another kid blowing harmonica, an unknown lot of people banging away on whatever they had within reach, street musicians playing drums etc etc etc, you don't need to listen to ”Reportage: Spela själv”. The closest you get to regular music are some unknown folk fiddlers on one track, but you can find better examples of Swedish traditional folk music elsewhere.

Some try to hype it as 'psych', 'kraut' and whatever to drain some cash out of collectors' pockets, but don't believe the baloney. Do like the title says instead: ”play it yourself”. Much cheaper. If interesting at all, it would be only to die-hard Träd Gräs & Stenar collectors would want it as it was recorded and edited by Bo Anders Persson. Bizarrely or perhaps predictably, a bootleg of the album was released in 2010.

 

Full album 

STENBLOMMA – Alla träd har samma rot (Silence, 1973)

Swedish vocals

International relevance: ***

The story goes that trio Stenblomma's main woman Hélène Bohman (now Hélène Bohman Blomqvist) quit playing after getting a bad review in the music movement's periodical Musikens Makt. (And in case you wonder, it was not some kind of patriarchal slag off – the review was written by Mia Gerdin who later hosted feminist radio show Spinnrock on Swedish Radio.) Bohman has since taken up playing again, and ”Alla träd har samma rot” has earned a greater appreciation over time, which might have something to do with the Träd, Gräs & Stenar connection; Torbjörn Abelli, Thomas Mera Gartz and Jakob Sjöholm all appear on it. The use of tablas and sitar on some tracks probably helps its reputation too.

But it's most of all down to this being a great album, with a loose and slightly stoned feel emphasized by Gregory Johnson-King's bubbly wah wah guitar slithering its way through several songs. (Johnson-King was also in Folk Blues, Inc.) The songwriting's fine and while Bohman is only a so-so singer, she's a hundred times more enjoyable than Turid, a parallell not entirely off the mark. But the great Lena Ekman is probably an even better comparison.

The track that usually gets the most praise is the nine minute ”Skeppet” which indeed is the album's high point with its slow burning melancholy enhanced by Johan Runeberg's recorder, like a haunting wind on the dark open sea. But there are more great stuff here – actually, the only two inferior tracks are ”Åh pappa, ormarna ringlar” and the annoyingly shouty ”Christiana”.

It's a real shame this has yet to be reissued. It deserves it, a lot more than many other albums reissued over and over again.

Full album playlist

THOMAS MERA GARTZ – Sånger (Silence, 1976)

Swedish vocals

International relevance: ***

 

As with Thomas Tidholm, Thomas Mera Gartz was much better when he was in charge of his own album and not only a part of Träd, Gräs Och Stenar. Only two Träd, Gräs Och Stenar members appear prominently on ”Sånger”, guitarist Jakob Sjöholm and bassist Torbjörn Abelli. Instead, Gartz wisely opted for a set of musicians with a good instrumental grasp; Bo Skoglund, Roland Keijser, Bengt Berger, Anita Livstrand and Nikke Ström to name most of the participants.

Gartz may not have been the world's greatest singer, but ”Sånger's” intimacy, melancholy and the musicians' interplay are so much more important to the outcome. The entire album has a tender delicacy to it, it's both fragile and frail, heartfelt and sincere, with an openendedness inviting the listener to come closer and closer until you can't help embracing the music. The stellar cast of performers helps immensely of course. They listen with in the songs and within themselves, enter musical openings, bring elusive spiritual overtones to the songs, move the music and their fellow players forward. Gartz leads but ”Sånger” is a collective effort, an example of what might happen if vision and skills meet.

Full album playlist

PÄRSON SOUND / INTERNATIONAL HARVESTER / HARVESTER / TRÄD GRÄS OCH STENAR – 1966-1973

What can be said about Träd Gräs Och Stenar (hereafter referred to as TG&S) that hasn't been said before? They're one of the most renowned progg bands, both domestically and internationally. Their career is well documented, from the earliest days to their more recent activities as a recording outfit, so there's no real reason for dwelling upon any detailed biographical facts. Just a quick background check: Their original 1967 line-up consisted of Bo Anders Persson (guitar), Thomas Tidholm (vocals, sax, flute), Torbjörn Abelli (bass), Thomas Mera Gartz (drums), Urban Yman (violin) and Arne Ericsson (cello). Bo Anders Persson was already a noted avantgarde composer, and his idea was to fuse the minimalism of Terry Riley and La Monte Young with the rock'n'roll of The Rolling Stones. Initially operating as Pärson Sound, they changed their name to International Harvester in 1968.

Sov gott Rose-Marie (Love, 1968)

as International Harvester
Instrumental, Swedish vocals, English vocals 

International relevance: ***

 

Tracks like ”Klockan är mycket nu”, the pointlessly short ”It's Only Love”, the overlong ”How to Survive” and a couple of others should have been substituted by the 25 minute ”Skördetider” that was saved for bonus track on the 2001 CD reissue. But those tracks are massively overshadowed by, for instance, the punkish ”There Is No Other Place”, the imperative ”Ho Chi Minh” and the great ”I Mourn You”. Oddly enough, the classic ”Sommarlåten” fades out after only a couple of minutes while it could stretch out to a forever when performed live. My personal favourite however is the captivating title track, also way too short with its mere three and a half minutes. But despite a few weak spots, a very good album.

Hemåt (Decibel, 1969)
as Harvester
Instrumental, Swedish vocals 

International relevance: ***

 

With their name shortened to Harvester, the band released ”Hemåt” in 1969. A mess of good, underdeveloped and undevelopable ideas, in a sound quality that ranges from the wonderfully confrontative basement fidelity of ”Sov gott Rose-Marie” to the plain unlistenable. Sound and intent coincide fully only on ”Kristallen den fina”. TG&S's interest in Swedish folk music shines through on ”Kuk-polska”, an early but heavyhanded and rheumatic attempt at folk rock. All in all, ”Hemåt” is frustrating and inferior. And again, one of the best tracks were left to unreleased until the early 00's CD reissue – especially odd as it's the album's title track!

Träd, Gräs Och Stenar (Decibel, 1970)

Instrumental, English vocals, Swedish vocals

International relevance: ***

Harvester lost original member Thomas Tidholm already in 1968 (they would reunite briefly as Hot Boys for one lovely album in 1974), and the band reformed in 1969 as Träd, Gräs Och Stenar, releasing the first LP bearing that name in 1970. The first side is devoted in full to two tedious cover versions of Bob Dylan's ”All Along the Watchtower” and the Stones' ”Satisfaction”. The Dylan song in particular is too wrapped up in the 'everybody can play' ethos. Obviously, everybody can not play – Bo Anders Persson's guitar solo is way off at times. And no, I don't think it's charming. I cringe every time he fires off a bum note. And that happens a lot.

”Sanningens silverflod” is the album's high point (later bettered and immortalized by rock reggae band Dag Vag) but Persson proves that slide guitar isn't quite his thing either. Thomas Mera Gartz's ”Svarta pärla” is shaky but evocative enough to come in as the album's second best track. With ”Tegenborgsvalsen”, TG&S digs deeper into Swedish folk with as bad results as on ”Hemåt”. Sound quality is again down the drain. ”Allt makt åt folket” is six long minutes of people blowing whistles, clapping hands and chanting. Man, this communal trip is really getting on my nerves...

Rock för kropp och själ (Silence, 1972)

Swedish vocals

International relevance: ***

TG&S may look like the archetypical Silence band, but the only album originally made for the label was ”Rock för kropp och själ”. Includes a studio version of TG&S's classic cover of Philemon Arthur & The Dung's ”In kommer Gösta”, premiered at the Gärdet festival two years earlier. Most of the album slides around in a mud pool of nothingness; the title track is a 24 minute jam that reaches its climax much too late, ”Våran vila” is lead-footed boogie, and ”Solen går upp, solen går ner” is two long minutes of audience chanting. The best track is ”I ljuset av din dag”, sung by Gartz.

Djungelns lag (Tall, 1972)

 Instrumental, Swedish vocals

International relevance: ***

A live album recorded on tour in Sweden and Norway. The sound quality isn't quite as atrocious as one would expect but the music is a bit hit and miss. A powerful ”Sanningens silverflod” opens the album and ”Drammen export” closes it in a fine way. The acoustic ”Dibio” and ”Munfiol” are crap; ”Vår vila” suffers badly from lousy guitar soloing. Even worse guitar canbe heard on the drowsy ”Tidigt om morgonen” (the title means ”early in the morning” and these people obviously couldn't get out of bed at all). CD includes the 31+ minutes bonus track ”Amithaha” seguing into ”In kommer Gösta”, meaning a lot more fumbling guitar noodling.

Mors mors (Tall, 1973)

Instrumental, Swedish vocals, English vocals

International relevance: ***

 

Another live album (decent sound), this time recorded in Sweden and Denmark in 1972. There's not much to set this one apart from their previous albums, with the possible exception of what might be the dullest Rolling Stones cover ever, ”The Last Time”. Other than that, it's the usual extended jamming, some OK, some of it sleep inducing. Best track: ”Dansa jord”. CD bonus: 26 breathing minutes of ”Sommarlåten” – should have been on the album.

ARCHIVAL RELEASES

PÄRSON SOUND (Subliminal Sounds, 2000; recorded 1966-1968)

Instrumental

International relevance: ***

Ranked #18 on the blog's Top 25

The first official peak into the voluminous TG&S vaults is also the best, not only of their archival releases but thebest TG&S album of all, recorded as a fledgling band in various locations. Outdoors performances blend with recordings made for Swedish Radio. The sound quality differs between tracks, but the music is incredibly powerful and overwhelming. The impact is bone crushing! Their drone rock never worked better than in their early Pärson Sound days, and I'd be hard pressed to come up with an international band or artist in the same vein that can actually compete with Pärson Sound. TG&S themselves couldn't, that's for sure.

Gärdet 12.6.70 (Subliminal Sounds, 1996; recorded 1970)

Instrumental, Swedish vocals

International relevance: ***

The TG&S performances at the two legendary Gärdet festivals – arranged by themselves in June and August 1970 – are progg landmarks, and it's surprising it took so long before anyone made them publicly available in full. (A track from the second festival was featured on the ”Festen på Gärdet” album.) Subliminal Sounds unearthed a recording from the first festival and released it on CD in 1996. The mono sound is a bit muddy and distorted but OK for a 1970 audience tape. The music is standard TG&S. Lots of jamming, sometimes propulsive, sometimes at a standstill, some notes shouldn't be there, and another version of ”Satisfaction” certainly shouldn't be there.

The album was re-released in 2011 on double vinyl and expanded with a previously unreleased sidelong water-treading jam entitled ”Låt oss tänka ett par dagar”, recorded some time in the winter of '69/'70.

 

Live 1972 (1/2 Special Skivor & Trams, 2001; recorded 1972) 

Instrumental

International relevance: ***

Recorded in February and March 1972, this basically sounds like a bonus disc to ”Mors mors” that was recorded around the same time, although this has a bit weaker sound and weaker performances. For completists only. (Reissued with bonus tracks by Anthology Recordings in 2016.)

Kom tillsammans (Anthology Recordings, 2016; recorded 1972)
Instrumental, Swedish vocals

International relevance: ***

 

Released as part of the ”Träd, Gräs Och Stenar” 6LP/3CD box set only, i.e. not sold separately. (Picture above shows the box set front.) The main discs in the set are expanded double disc versions of ”Djungelns lag” and ”Mors mors”. and ”Kom tillsammans” consists of more live recordings from 1972, some of them with vocals. ”Medan vinden vänder sig” is OK and combines a reflective mood with a movement forward. The sound quality leaves a lot to be desired, it appears that reverb was added which emphasizes the distortion on several tracks, most likely prevalent on the original tapes. Unless you need more samey sounding TG&S in your life, this is something you can ignore.

Another box set was released by Silence in 2018, focusing on the two original (International) Harvester albums, adding three LP's of unreleased live material. A Tonkraft radio performance with TG&S trading off tracks with a group four folk fiddlers is included in ”Progglådan”. Numerous unofficial live tapes in varying quality circulate. There's also the very interesting ”Love Is Here to Stay” Subliminal Sounds comp of Bo Anders Persson's pre-Pärson Sound pieces 1965-1967, including the up until then only released example of his early experimental work, ”Proteinimperialism”.

No-one can deny that TG&S were instrumental to progg's emergence, through arranging the Gärdet festivals and through their pioneering and influential musical work. But 'influential' isn't necessarily synonymous with 'good' or 'consistent'. TG&S have become the holiest of all holy progg cows – if you like progg, you're expected to like them, almost obliged to. I frankly don't think they're that good. ”Pärson Sound” is utterly brilliant, ”Sov gott Rose-Marie” is a very fine album, but a lot of the Harvester/TG&S ouevre is way overrated to my ears. Every album has its moments, but none of them holds up in its entirety. (A compilation of their best tracks would be more to the point.) Their jams drag on and get one-dimensional and predictable too often. Somebody once described their music as a journey, but to me a journey is a lot more than sitting on a train that doesn't leave on time and then suddenly derails at full speed.

TG&S's attempts to vary the style are usually not very successful and further reveal their ineptitude. You have accept the 'everybody can play' premises as fundamental, and if you don't their approach doesn't work as often as I wish it would. And the thing is, I always get the feeling that TG&S's ineptude is an end in itself, as if they're being bad on purpose, which live recordings by the reincarnated band suggest as well. That, to me, is a kind of pretentiousness which isn't better than any other kind of pretentiousness.

Sov gott Rose-Marie full album playlist with bonus tracks

Hemåt full album playlist

Träd Gräs Och Stenar full album playlist

Rock för kropp och själ full album playlist

Box set including Djungelns lag, Mors mors + Kom tillsammans

Gärdet 12.6.70 full album playlist

Pärson Sound full album playlist

Live 1972 no links found

STEN BERGMAN – Lyckohjulet (Gump, 1974)

Swedish vocals, instrumental

International relevance: ***

Sixth album released on Metronome's highly collectable subsidiarylabel Gump. Sten Bergman had been in Atlantic Ocean and Fläsket Brinner and features former band colleagues Per Bruun on bass, guitarist Bengan Dahlén, plus Archimedes Badkar's Christer Bjernelind also on guitar, and Thomas Mera Gartz of Träd, Gräs Och Stenar on drums and violin. ”Lyckohjulet”, however, is a much more straightforward than any of the aforementioned bands. It shows Bergman well acquinted with the American music of the day – think of a more relaxed version of early 70's Jefferson Airplane, the Crosby, Stills & Nash family, The Band and ”Basement Tapes” Dylan, and you've nailed the album pretty well.

Among the weaker tracks are the country tinged title track and ”St. John”, the piano ballad ”Vinterdröm”, and ”Kommer hem” which borrows a little too much from Dylan's ”Like a Rolling Stone” (did Bergman really think no-one would notice?). But the good tracks are really good – ”Människofiskare”, ”Med dej här bredvid”, ”För mycket av ingenting” (”too much of nothing” in English – spot the Dylan reference?), floaty album closer "Sorti" and, to top it off, the marvellous ”Vägen är lång”. In short: It's uneven but good, with one great track. 

Full album playlist

HOT BOYS – Varma smörgåsar (Silence, 1974)

Swedish vocals

International relevance: ***

Hot Boys were a short-lived Träd, Gräs Och Stenar off-shoot or should I say, it was Thomas Tidholm reuniting with his former band colleagues. Tidholm left the band just before they changed their name from Harvester to Träd, Gräs Och Stenar.

Those expecting a lost Träd, Gräs Och Stenar album should change their bias before approaching it though. ”Varma smörgåsar” is a largely acoustic folk oriented album with none of the jamming his former band is famed for. All for the better of it I'd say, as I often prefer the focus that pre-written material bestow the music. That Tidholm is an often terrible singer with a lacking ear for key doesn't matter, because that's not the point here – the songs themselves are, and the impromptu feel permeating most of them enriches the songs rather than detract from them. Why it works for Tidholm when it doesn't for a few others, I don't know, and it doesn't really matter as long as it works. The album is vital and lively, even in moments of pensive dejection of which there are quite a few: ”Vackerlåten”, ”Ve den stackars pendlaren”, the excellent ”Två blodröda segel” and the even more excellent ”Värmlänningen”.

While this album might not be to everybody's tastes, fans of Thomas Mera Gartz's ”Sånger”, Spilld Mjölk and maybe even Anna Koka Fem Ägg Jag Är Värd I Huset should give this a serious try.

Full album